Sentences with phrase «as a cinematographer for»

First stepping behind the camera as cinematographer for the 1977 drama Homeward in the Night, August took the helm for Honeymoon the following year, to great critical acclaim.

A Far Off Place features some beautiful African photography, probably in part to first - time director Mikael Solomon, who earlier worked as a cinematographer for such films as The Abyss and Arachnophobia.

L.A. native Robert Elswit captures profoundly contrasting visions of the city as cinematographer for two films this season.

Still, no one much cared for Saulnier's debut, Murder Party, back when he was still known primarily as the cinematographer for fellow indie director Matthew Porterfield (I Used To Be Darker).

Barry Sonnenfeld, who would go on to direct Men in Black and many others, took over as cinematographer for the final days of shooting.

The film is directed by Anna Forrester, who previously served as the cinematographer for White House Down, and is out now!

He has also served as cinematographer for Flex Is Kings, a documentary about Brooklyn street dance that premiered at TriBeca Film Festival in 2013, and as camera - op on BKLYN FLEX, a series combining fantasy and documentary in the lives of Brooklyn Flex dancers.

Not exact matches

This allows a pilot and a cinematographer to work together as a team, in parallel, for professional productions that require high precision.

Master cinematographer Caleb Deschanel («The Right Stuff,» «The Passion of the Christ») uses an unnatural amount of light inside that home on wheels, almost as if the world is too bright for these dark characters.

Serving as the primary cinematographer, he employs a run - and - gun style for much of the movie, using a lightweight digital camera that at times lurches so dramatically that you can visualize the body attached to it.

Despite Pacino's always - enjoyable scenery chewing, Mann and cinematographer Dante Spinotti are more interested in Crowe, the remarkable Australian actor best known previously for his role as Bud White in «L.A. Confidential.»

This scene could be read as either an arbitrary acknowledgment of Lincoln's documented interest in psychic phenomena or a brief opportunity for Spielberg and cinematographer Janusz Kamiński to reprise their watery fishbowl motif from Minority Report, but it really serves the more interesting, ambitious purpose of establishing Lincoln as a comedy of the narcissism that binds prophecy with political policy.

For the life of me, I somehow can't find the identity of this series» cinematographer, but whomever this person may be, my hat is off to him or her, as his or her efforts, while not breathtaking, is consistently quite tasteful in its plays with coloring and lighting, which has a tendency to sometimes go from tasteful to just plain stunning, thus making the series a strong visual piece, as surely as it is something of a strong musical piece, as Christopher Dedrick must also gain some recognition for his spirited and sometimes upstanding score woFor the life of me, I somehow can't find the identity of this series» cinematographer, but whomever this person may be, my hat is off to him or her, as his or her efforts, while not breathtaking, is consistently quite tasteful in its plays with coloring and lighting, which has a tendency to sometimes go from tasteful to just plain stunning, thus making the series a strong visual piece, as surely as it is something of a strong musical piece, as Christopher Dedrick must also gain some recognition for his spirited and sometimes upstanding score wofor his spirited and sometimes upstanding score work.

Hoffman praised the cinematographer for his integrity on and off screen, and Roizman's eyes were misty as he accepted his award.

It was a mind bender that was filmed by cinematographer Emmanuel Lubezki who made a bold choice to film the movie as if it's one long tracking shot that lasts for two hours.

With his Oscar nomination for Denis Villeneuve's «Blade Runner 2049,» cinematographer Roger Deakins moved past legendary lenser George J. Folsey («Executive Suite,» «Meet Me in St. Louis») as the most - nominated director of photography in history to never win the gold (14 nominations and counting).

It received Oscar nominations for cinematographer Roger Deakins and Casey Affleck's spellbinding performance as Bob Ford, a foolish young outlaw entranced by the celebrity of Jesse James.

Allen, production designer Santo Loquasto, and cinematographer Vittorio Storaro (the legendary camera maestro here working, as is Allen, for the first time in the digital format, and knocking it out of the park) have a very particular vision of 1930s Hollywood, despite Allen's well - known and well - worn antipathy toward Los Angeles in general.

It earned an Independent Spirit Award nomination for cinematographer Ben Kasulke and helped launch Seimetz as one of the most talented and in - demand actresses of the indie scene.

Ripley is engulfed by darkness and despair in director David Fincher's claustrophobic and underrated big - screen debut (which looks a lot better in light of Seven — photographed by Alien Resurrection cinematographer Darius Khondji — and The Game), as she crash lands on Fiorina «Fury» 161, a remote, nearly deserted, Class C Prison, maximum security, Double Y Chromosome - Work Correctional Facility after drifting in space — again — for an unspecified time.

Wandering the mountainous landscape, gorgeously photographed by veteran cinematographer Dean Cundey (Apollo 13, Who Framed Roger Rabbit, Jurassic Park), the psychically tortured protagonist has a series of run - ins with various figures, including a sympathetic Indian (Adam Beach), a Chinese immigrant (Tzi Ma), an old war buddy (Danny Glover) and, most memorably, a vicious killer named Ezra (Walton Goggins, stealing every scene as usual) who demands a «toll» from Jackson for encroaching on his territory.

While working for them during the early»40s, he began moonlighting as a cinematographer.

As it turns out, the relative skill with which Tully has been assembled — with kudos to cinematographer Eric Steelberg for his dusky color palette; editor Stefan Grube for some metronomically precise cutting in a series of domestic montages; and, yes, Reitman the Younger for using pop music more adroitly than usual (notably a suite of Cyndi Lauper songs to score a nighttime drive to Brooklyn) and actually locating and maintaining a non-obnoxious tone for the duration — is beside the point.

The website floats Ericson Core, cinematographer of «The Fast and the Furious,» or Louis Leterrier, director of «The Incredible Hulk» as possible contenders for the gig.

A fan of Requiem for a Dream, Gaghan cribbed that film's composer as well as its cinematographer, Matthew Libatique; joining Gaghan for a screen - specific commentary track, Libatique is not afraid of alienating the viewer in name - checking development techniques — as a «Dawson,» I found myself transcribing terms like «cross process» for future reference.

THE MAN WHO WAS N'T THERE A faithful resurrection of the film noir genre, The Coen Brothers» The Man Who Wasn't There is a shoo - in for Roger Deakins's fifth Oscar nomination as best cinematographer.

But a person so hateful, misogynistic and homophobic is simply a person / actor I will never support, no matter how good a performance.Oddly (which I am still struggling with) is that if he had a lesser role in the production of Sid and Nancy (such as writer, director, cinematographer, etc.) I would have still hoped for his acceptance speech.

Foerster, who previously directed episodes of the television series «Criminal Minds» and «Outlander,» is widely known for her work as cinematographer on epic blockbusters such as Independence Day, The Day After Tomorrow and White House Down.

Director James Chressanthis directs with palpable affection for the two men, which is no surprise; a cinematographer himself, he apprenticed under both men, who were teachers as well as industry professionals.

Jordan Peele, the mastermind of «Get Out,» a social thriller about American racism, became the first African American to earn producer, director and writer nominations for a single film; the academy nominated a female cinematographer, «Mudbound's» Rachel Morrison, for the first time in its 90 - year history; and Greta Gerwig became just the fifth woman recognized as a director, feted for her wry, observational coming - of - age story «Lady Bird.»

Guillermo del Toro's lavish monster romance The Shape of Water fished out a leading 13 nominations, Greta Gerwig became the fifth woman nominated for best director and Mudbound cinematographer Rachel Morrison made history as the first woman to earn a nod in that category in nominations announced Tuesday for the 90th annual Academy Awards.

The film was a great challenge for him as a cinematographer, considering the groundbreaking practical FX as well as all the ways Carpenter likes to set the moodiness and tone with lighting and painting with light (there are many hints throughout the film as to who is human and who is infected through the lighting on their face).

Shot mainly in Calgary, Edmonton and Winnipeg and lasting demanding 160 minutes, this «Victorian Western,» as Dominik called it, was shot by the legendary cinematographer Roger Deakins, nominated for the Academy Award no less than thirteen times.

As photographed by John Bailey — at the time, the go - to cinematographer for Paul Schrader (American Gigolo, Cat People, Mishima: A Life In Four Chapters, Light Of Day)-- the city's streets, restaurants, back rooms, and lofts are as much a character as Charlie and Paulie, a dreamer and a schemer trying to get ahead in a world where the chips are stacked against theAs photographed by John Bailey — at the time, the go - to cinematographer for Paul Schrader (American Gigolo, Cat People, Mishima: A Life In Four Chapters, Light Of Day)-- the city's streets, restaurants, back rooms, and lofts are as much a character as Charlie and Paulie, a dreamer and a schemer trying to get ahead in a world where the chips are stacked against theas much a character as Charlie and Paulie, a dreamer and a schemer trying to get ahead in a world where the chips are stacked against theas Charlie and Paulie, a dreamer and a schemer trying to get ahead in a world where the chips are stacked against them.

The film is shot primarily in black - and - white (with Rodriguez serving as cinematographer) with splashes of color for emphasis.

Knowing that mastering would be the first step in the process, I reached out to the cinematographer, Vittorio Storaro, as we wanted him to be involved in a new HD transfer of the film for our release.

A number of other major restorations will have their World Premieres at the Festival: Carol Reed's atmospheric Graham Greene adaptation of OUR MAN IN HAVANA (1959), set in Cuba at the start of the Cold War, makes timely viewing as US / Cuba relations thaw; Ken Russell's reworking of D.H. Lawrence scandalous classic WOMEN IN LOVE (1970) stars Oliver Reed, Alan Bates and Glenda Jackson and shows two couple's contrasting searches for love, and was restored by the BFI National Archive working alongside cinematographer Billy Williams; A MAN FOR ALL SEASONS (1966) is directed by Fred Zinnemann from a script by great British screenwriter, Robert Bolt from Bolt's play about Sir Thomas More, a perfect companion piece to Wolf Hall; Henry Fonda stars in the ripe - for - discovery WARLOCK (1959), a seething study of vengeance and repressed sexuality in a Utah mining outpost; and Bryan Forbes» THE RAGING MOON (1971) starring Malcolm McDowell and Nanette Newman in a tender story between two young people in wheelchairs which was ahead of its time in its attempts to change attitudes to disabilifor love, and was restored by the BFI National Archive working alongside cinematographer Billy Williams; A MAN FOR ALL SEASONS (1966) is directed by Fred Zinnemann from a script by great British screenwriter, Robert Bolt from Bolt's play about Sir Thomas More, a perfect companion piece to Wolf Hall; Henry Fonda stars in the ripe - for - discovery WARLOCK (1959), a seething study of vengeance and repressed sexuality in a Utah mining outpost; and Bryan Forbes» THE RAGING MOON (1971) starring Malcolm McDowell and Nanette Newman in a tender story between two young people in wheelchairs which was ahead of its time in its attempts to change attitudes to disabiliFOR ALL SEASONS (1966) is directed by Fred Zinnemann from a script by great British screenwriter, Robert Bolt from Bolt's play about Sir Thomas More, a perfect companion piece to Wolf Hall; Henry Fonda stars in the ripe - for - discovery WARLOCK (1959), a seething study of vengeance and repressed sexuality in a Utah mining outpost; and Bryan Forbes» THE RAGING MOON (1971) starring Malcolm McDowell and Nanette Newman in a tender story between two young people in wheelchairs which was ahead of its time in its attempts to change attitudes to disabilifor - discovery WARLOCK (1959), a seething study of vengeance and repressed sexuality in a Utah mining outpost; and Bryan Forbes» THE RAGING MOON (1971) starring Malcolm McDowell and Nanette Newman in a tender story between two young people in wheelchairs which was ahead of its time in its attempts to change attitudes to disability.

Hopkins gets one or two scenes where he's actually enjoying himself and not just mentally calculating whether this paycheck can get him a walk - in humidor to go with the new wine cellar, and poor Haddock, as the female lead, is stuck contending with being a multi-degreed academic who nonetheless has an affinity for oxygen - depleting skirts and push - up bras, all captured in full effect by cinematographer Jonathan Sela («John Wick»).

As expected, cinematographer Roger Deakins took the top prize for «Blade Runner 2049» at the 32nd annual ASC Awards at Hollywood & Highland.

IT: Chapter Two Filmmaker Andy Muschietti is making a key change for «IT: Chapter Two,» the filmmaker has enlisted Checco Varese («The 33,» «Replicas») to take over as cinematographer from the first film's Chung - hoon Chung («Oldboy,» «The Handmaiden»).

This sequel to the surprise hit adaptation of a popular video game, Mortal Kombat, sees John R. Leonetti (The Butterfly Effect 2), cinematographer for the first film, take over the reigns from Paul W.S. Anderson as director, mostly to disappointing results.

Coogler and cinematographer Maryse Alberti use the gritty cityscape as a backdrop for Adonis» transformation: While the young man grew up fighting all the time in group homes, he was able to live a life of luxury after Mary Anne found him.

Janusz Kaminski, the much lauded cinematographer for Spielberg films such as Saving Private Ryan, Amistad and Schindler's List, takes his first crack at directing with not too impressive results.

It should also be mentioned that SICARIO sees Roger Deakins (SKYFALL, NO COUNTRY FOR OLD MEN) as the cinematographer again (Deakins lensed PRISONERS, too).

The members of the jury responsible for the U.S. dramatic winners included actors Michael Stuhlbarg, Jada Pinkett Smith, and Octavia Spencer, as well as the newly Academy Award - nominated cinematographer Rachel Morrison and filmmaker Joe Swanberg.

This has nothing to do with Crudo's discipline — fellow cinematographer John Bailey came prepared as a historian and film buff and delivered a super commentary track for Sunrise — but Fox erred in not trimming Crudo's sterile comments down to its essentials, and inter-cutting info from other, if not more broad - minded film historians.

And how dope it is to be on set and have the world's best and most accomplished actors, cinematographers, directors, and editors (all here as Advisors just for you!)

Akhtar milks the mechanics of the complex caper for all their suspenseful worth as expertly as he handled the first film's fights, car chases, and all other manner of slam - bang mayhem — which are all still very much present here and just as polished, aided immeasurably by the work of cinematographer Jason West and editor Anand Subaya.

Hop over to the other similarly sterling yakker to hear DP Peter Deming (later cinematographer for David Lynch, Wes Craven, and Sam Raimi), co-screenwriter Richard Jefferies, and composer Terry Plumeri go into all aspects of the production, such as the possibility of a remake, the Chris Walas film The Vagrant (also written by Jefferies), and how the film was so very angry.

With «Robin Hood,» generations unfamiliar with the Technicolor look can get a really good sampling of why film historians and cinematographers rave and are overcome with a peculiar nostalgia for the color schemes that literally glow, as evidenced from interviews with cinematographers Jack Cardiff and Vittorio Storaro in the excellent documentary on Disc 2, «Glorious Technicolor,» an overview of the company and key personnel, derived from Fred Basten's 1980 book.